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The 2008 film by Ari Folman about his experiences during the first Lebanon War broke ground for a wave of creators who understood the potential for expression inherent in animated documentary format
of special events to support iran, and a film that i found very intriguing was la sirene the siren. it reminded me of one of the best iranian films of recent years, which was also by a female director and an animation, persepolis. and this one is by a film maker, sepideh farsi, who had to leave iran at a young age. it s kind of based on her personal experiences of living through the iran iraq war in 1980 and it s about, really, it s a tribute to her father and it s a perspective of what happens when all of a sudden, your life is disrupted because of war. i think it s extraordinary the way animation has come on and really how it s used as a tool in so many of these films that you say waltz with bashir, but also flee, for example. it s really used to to bring war stories to life. so, that s the same
the way animation has come on and really how it s used as a tool in so many of these films that you say waltz with bashir, but also flee, for example. it s really used to to bring war stories to life. so that s the same with siren, is it? yeah, i think one of the beautiful things about animation is you can do really great kind of attack scenes with planes and buildings that you need hundreds of million dollars, a marvel kind of budget, to do as a non animation movie. and these animated films also have the beauty of animation in a really touchable memory. is there anything really buzzy in the festival this year, would you say, that a lot of people are talking about? i think one of the films that everyone is kind of talking about is reality, which is a whistleblower film. what is really taking everybody by the horns is the central performance by sydney sweeney, who we know from white lotus. well, thank you, kaleem. enjoy the rest of the berlinale, keep on watching.